:05:03
for not going back to England.
:05:05
English people sort of forgot
that these people are under contract,
:05:09
and I can't quite see either
David Selznick, or Samuel Goldwyn,
:05:13
letting their prize possessions
to just take off and go back.
:05:18
He did go back during the war,
:05:20
and he made
two films for the free French.
:05:25
(Boyle) Because of
the beginning of the war,
:05:28
because after that we were
completely involved in World War ll ,
:05:31
and you couldn't get anything ...
:05:34
We couldn't work
in any of the aircraft factories.
:05:37
lt all had to be done on the back lot.
:05:39
So Saboteur became
a real challenge.
:05:44
It would have been in any event,
but for a young art director,
:05:48
working with the master,
Alfred Hitchcock,
:05:51
it was not easy.
:05:54
It was in 1941,
:05:58
and I had been an actor
by that time...
:06:00
a professional actor...
:06:02
for nine years,
:06:04
when lo and behold, l get a call
:06:08
from John Houseman.
:06:10
John Houseman was under contract
in 1941 to David o Selznick,
:06:15
who also had Mr Hitchcock
under contract.
:06:20
And Hitch spoke with Houseman
about finding an actor...
:06:25
who was unknown
for the part of the saboteur.
:06:28
He wanted a young actor.
:06:31
In 1941, I was young.
:06:34
And he wanted
a certain kind of actor.
:06:38
He described it
:06:40
and did Houseman
know anyone who might
:06:45
be suitable for this part.
:06:47
Houseman was good enough
to recommend me
:06:51
and then
:06:53
called me, and told me that
:06:56
Mr Hitchcock would be expecting
my call at the St. Regis